Mort aux vaches

Death to cows...Frank (Punch) Costello

"Mr Stephen, a little moved but ver handsomely told him no such matter and htat he had dispatches from the emperor's chief tailtickler thanking him for the hospitality, that was sending over Doctor Rinderpest, the bestquoted cowcatcher in all Muscovy, with a bolus or two of physic to take the bull by the horns."

"Irish by name and irish by nature, says Mr Stephen, and he sent the ale purling about, an Irish bull in an English chinashop." -327


"True for you, says Mr Vincent cross the table, and a bullseye into the bargain, says he, and a plumper and a portlier bull, says he, never shit on a shamrock."

"By the Harry, Green is the grass that grows on the ground."

"But one evening, says Mr. Dixon, when the lord Harry was cleaning his royal pelt to go to dinner after winning a boatrace (he had spade oars for himself but the first rule of the course was that the others were to row with pitchforks) he discovered in himself a wonderful likeness to a bull and on picking up a blackthumbed chapbook that he kept in the pantry he found sure enough that he was a lefthanded descendant of the famous champion bull of the romans, Bos Bovum, which is a good bog Latin for boss of the show." -328

Defender of the Faith...so the Lord Harry Joyce is writing about is actually Henry the VIII. Hilarious. "

I love how Joyce is playing with language in Oxen of the Sun. In this section, we really get into the name of the chapter and the slaughtering of the cattle of Ireland...due to foot and mouth disease. The extensive use of archaic language is hysterical, but also very clever. He is writing the dialogue and interactions of a bunch of disasterously drunk people in a flowery language that envokes romanticism and chivalry.

Then Mulligan shows up...with his business proposition. Basically, he's proposing to be a male prostitute, but not for reasons of sexual pleasure, but for reasons of "fertilization". This causes an uproar among the drunks and everyone has a good laugh. "He proposed to set up there a national fertilising farm to be named Omphalos with an obelisk hewn and erected after the fashion of Egypt..."

Do fish ever get seasick?

What I meant about tennis...

-I heard So and So made a cool huncred quid over it, says Alf.
-Who? Blazes? says Joe.
And says Bloom:
-What I meant about tennis, for example, is the agility and training the eye.

Poor Bloom trying to divert the subject from Blazes Boylan...again.

later...
And Bloom cuts in again aboiut lawn tennis and the circulation of the bloodm, asking Alf,
-Now don't you think Bergen?

So it's Percy Keogh and Myler Bennett, correct?
Marion of the bountiful bosoms. -262

People present at Barney Keirnan's pub: Joe Hynes, the narrator, the citizen (Polyphemus?), Garryowen...now known as Owen Gary (very grumpy canine), Terence O'Ryan (bartender), Alf Bergan, (Breen waddles by, wife in tow...U.p: up), Bob Doran (hammered), Bloom, J.J. O'Molloy, Ned Lambert, John Wyse Nolan, Matt Lenehan, Martin Cunningham (later) with Jack Power,

And Bloom letting on to be awfully deeply interested in nothing, a spider's web in the corner behind the barrel, adn the citizen scowling after him and the old dog at his feet looking up to know who to bite and when. -266

A striking arrangement of Woodman, spare that tree... -269

This chapter makes fun of everything.

The winebark on the winedark waterway -269... a touch of Homer

Old Vic... "And as for the Prooshians and Hanoverians, says Joe, haven't we had enoiugh of those sausageeating bastards on the throne from George the elector down to the German lad and the flatulent old bitch that's dead?" -271

Then Bloom leaves...he is just really flustered because of his day, it seems, but this chapter's depiction of him is really confusing. He doesn't seem to be the person the narrator is describing at all, so I think this is a really important instance of everyone else's perspective concerning Bloom. It's really sad. It kind of reminds me of the suitors disparaging Odysseus, especially since most, if not all, of these men represent possible lovers of Molly's.

Love... Old Mr Verschoyle with the ear trumpet loves old Mrs Verschoyle with the turnedin eye.

and S. Anonymous and S. Eponymous and S. Pseudonymus and S. Homonymous and S. Paronymous and S. Synonymous....I can't help but think of Numbers.

Oh wow

I always thought the ethereal other-worldly body thing was kind of hoaky and evidently so did Joyce...or at least he had the capacity to see the humor in it's jargon. The paragraph in Cyclops on pgs. 247 and 248 concerning the "apparition of the etheric double" is absolutely hysterical. There are not words to describe this passage, but I think he was trying to intimate how ridiculous the weightiness ascribed to this particular subject can be. "Before departing he requested that it should be told to his dear son Patsy that the other boot which he had been looking for was at present under the commode in the return room and that the pair should be sent to Cullen's to be soled only as the heels were still good. He stated that thhis had greatly perturbed his peace of mind in the other region and earnestly requested that his desire shouild be made known. Assurances were given that the matter would be attended to and it was intimated that this had given satisfaction." hehe.

There's music everywhere.

Pg. 231..."There's music everywhere." Yes there is. Blazes' jingle jangle, Lydia the bell, Molly's "tongue when she talks like the clapper of a bellows", Simon singing Irish ballads--"Encore, enclap...", Ben Dollard singing in a resonant bass while Father Cowley plays the piano--"Father Cowley's outstretched talons griped the black deepsounding chords" -232, "Woodwind like Goodwin's name" -233, "Tap blind walked tapping by the tap the curbstone tapping, tap by tap" -236 and Bloom's endless stream of musical thoughts. There is more, of course, but it's impossible to keep up. The music in this chapter seems to flit and flutter through Bloom's mind, almost as a distraction to keep him from thinking about Molly. At one point he laments the fact that the music Simon Dedalus is singing makes him sad and expressly hopes that the next song will be of a more uplifting nature. The music, though, a the very beginning, what seems to be a song that summarizes the entirety of the chapter, shows a trend that leans towards the inevitable event of Boylan reaching 7 Eccles Street with the intention of exploring Molly's "chambers".

Number 7 Eccles Street

In Wandering Rocks Bloom is very, very close to Molly and his home. On pg. 192 Lenehan and M'Coy have just left Tom Rochford...the hero...and are passing under the Merchant's arch when they pass "Leopoldo or the Bloom is on the Rye". Shortly thereafter "a card Unfurnished Apartments reappeared on the windowsash of number 7 Eccles street". It's just a hunch at this point, but I'm assuming the card is an indicator that tells old Blazes Boylan that Molly is alone.

Then they begin talking about Molly and every hint points towards an affair between her and Lenehan. "-Hells delights! She has a fine pair, God bless her. Like that. He held his caved hands a cubit from him, frowning: -I was tucking the rug under her and settling her boa the whole time. Know what I mean?"

"Elijah, skiff, light crumpled throwaway, sailed eastward by flanks of ships and trawlers, amid an archipelago of corks, behond new Wapping street past Benson's ferry, and by the threemastered schooner Rosevean from Bridgwater to bricks." -205 ...Is Bloom Elijah? Is this a mapping of his course?

Blind stripling, pg. 205. Bloom helped this boy across the street, correct? When was this?

-Coactus volui. pg. 205--Having been forced I was willing.

Scylla and Charybdis

Did Shakespeare love Ann Hathaway? Can a father love his daughter if he never loved her mother? Are sons continuations of fathers or are they a mark of the gradual decline of the father figure? Or are sons their fathers, fathers their sons (after the father's death) and so on?

Stephen doesn't seem to view himself as part of his father...he seems frustrated and talks himself in complicated circles, arguing for things he just might not believe in.

"What the hell are you driving at?"

I know. Shut up. Blast you. I have reasons.

Amplius. Adhuc. Iterum. Postea.

Are you condemned to do this?" -170

And Stephen argues with himself....don't worry, he wins the argument. Stephen argues with himself alot. His own intelligence, which is pretty damned impressive, seems to work against him and he goes on and on about things he knows, but doesn't really ascribe to. For example, when he starts to argue about the implication of experience in Shakespeare's plays, he brings into the argument Shakespeare's question "What's in a name?" He says, "As for his family, his mother's name lives in the forest of Arden. Her death brought from him the scene with Volumnia in Coriolanus. His boyson's death is the deathscene of young Arthur in King John. Hamlet, the black prince, is Hamnet Shakespeare." -171 Basically, he is saying that the significance of the characters lies in their names, but he doesn't seem to take his own name very seriously. "Stephanos, my crown. My sword. His boots are spoiling the shape of my feet." -173 Shakespeares characters are based on people from his life, but Stephen, as a constant character in his own twisted plot, sees no significance in his name and abhorrs the idea of a continuation of the surname Dedalus as a continuation of his father. This is a constant struggle for him and he comically undergoes internal spars, seeing himself as "condemned".